To the MESSRS. APPLETON:Gentlemen:IT was my intention to write a preface for the purpose of authorizing the edition you are about to publish in English of Pepita Jiménez; but, on thinking the matter over, I was deterred by the recollection of an anecdote that I heard in my young days.

A certain gallant, wishing to be presented at the house of a rich man who was about to give a magnificent ball, availed himself for that purpose of the services of a friend, who boasted of his familiarity with the great man, and of the favor he enjoyed with him. They proceeded to the great mans house, and the gallant got his introduction; but the great man said to him who had introduced the other: And you, who is to introduce you, for I am not acquainted with you? As I entertain a profound respect and affection for this country, and have not, besides, the assurance that such an occasion would require, it would not do for me to say what the introducer of my story is said to have answered: I need no one to introduce or to recommend me, for I am just now going away.

I infer from my story, as its evident moral, that I ought to refrain from addressing the public of the United States, to which I am entirely unknown as an author, notwithstanding the fact of my having maintained pleasant and friendly relations with its Government as the representative of my own.

The most judicious and prudent course I can adopt, then, is to limit myself to returning you earnest thanks for asking from me an authorization of which you did not stand in need, either by law or by treaty, for wishing to make known to your countrymen the least insipid of the products of my unfruitful genius, and for your generous purpose of conceding to me authors rights.

This, however, does not preclude the fact that, in thus expressing my thanks to you publicly, I incur a responsibility which I did not assume on any other occasion, either in Germany, Italy, or any other country where my works have been translated; for then, if they failed to please the public, although the fact might pain me, I could still shrug my shoulders, and throw the blame of failure on the translator, or the publisher; but in this case I make myself your accomplice, and share or rather receive, all the disgrace of failure, if failure there should be.

Pepita Jiménez has enjoyed a wide celebrity, not only in Spain, but in every other Spanish-speaking country. I am very far from thinking that we Spaniards of the present day are either more easily satisfied, less cultured than, or possessed of an inferior literary taste to, the inhabitants of any other region of the globe; but this does not suffice to dispel my misgivings that my novel may be received with indifference or with censure by a public somewhat prejudiced against Spain by fanciful and injurious preconceptions.

My novel, both in essence and form, is distinctively national and classic. Its meritssupposing it to have suchconsist in the language and the style, and not in the incidents, which are of the most commonplace, or in the plot, which, if it can be said to have any, is of the simplest.

The characters are not wanting, as I think, in individuality, or in such truth to human nature as makes them seem like living beings; but, the action being so slight, this is brought out and made manifest by means of a subtle analysis, and by the language chosen to express the emotions, both of which may in the translation be lost. There is, besides, in my novel a certain irony, good-humored and frank, and a certain humor, resembling rather the humor of the English than the esprit of the French, which qualities, although happily they do not depend upon puns, or a play upon words, but are in the subject itself, require, in order that they may appear in the translation, that this should be made with extreme care.

I am an advocate of art for arts sake. I think it is very bad taste, always impertinent, and often pedantic, to attempt to prove theses by writing stories. For such a purpose dissertations or books purely and severely didactic should be written. The object of a novel should be to charm, through a faithful representation of human actions and human passions, and to create by this fidelity to nature a beautiful work. The object of art is the creation of the beautiful, and whoever applies it to any other end, of however great utility this end may be, debases it. But it may chance, through a conjunction of favorable circumstances, by a happy inspirationbecause in a given moment everything is disposed as by enchantment, or by supernatural influencesthat an authors soul may become like a clear and magic mirror wherein are reflected all the ideas and all the sentiments that animate the eclectic spirit of his country, and in which these ideas and these sentiments lose their discordance, and group and combine themselves in pleasing agreement and harmony.

Herein is the explanation of the interest of Pepita Jiménez. It was written when Spain was agitated to its centre, and everything was thrown out of its regular course by a radical revolution that at the same time shook to their foundations the throne and religious unity. It was written when everything in fusion, like molten metal, might readily amalgamate, and be molded into new forms. It was written when the strife raged fiercest between ancient and modern ideals; and, finally, it was written in all the plenitude of my powers, when my soul was sanest and most joyful in the possession of an enviable optimism and an all-embracing love and sympathy for humanity that, to my misfortune, can never again find place within my breast.

If I had endeavored by dialectics and by reasoning to conciliate opinions and beliefs, the disapprobation would have been general; but, as the conciliating and syncretic spirit manifested itself naturally in a diverting story, even one accepted and approved it, each one drawing from my book the conclusions that best suited himself. Thus it was that, from the most orthodox Jesuit father down to the most rabid revolutionist, and from the ultra-Catholic who cherishes the dream of restoring the Inquisition, to the rationalist who is the irreconcilable enemy of every religion, all were pleased with Pepita Jiménez.

There was in Spain, some years ago, a conservative minister who had sent a godson of his to study philosophy in Germany. By rare good fortune this godson, who was called Julian Sanz del Rio, was a man of clear and profound intelligence, of unwearied application, and endowed with all the qualities necessary to make of him a sort of apostle. He studied, he formulated his system, he obtained the chair of metaphysics in the University of Madrid, and he founded a school, from which has since issued a brilliant pleiad of philosophers and statesmen, and of men illustrious for their learning, their eloquence, and their virtues. Chief among them are Nicolas Salmeron, Francisco Giner, Gumersindo Azcarate, Frederico de Castro, and Urbano Gonzalez Serrano.

I, who had ridiculed, at times, the confused terms, the pomp of words, and the method which the new philosophers made use of, regarded these philosophers, nevertheless, with admiration, and took up their defensean almost solitary championin periodicals and reviews.

I had already maintained, before this, that our great dogmatic theologians, and especially the celebrated Domingode Soto, were more liberal than the liberal rationalists of the present day, affirming, as they do, the sovereignty of the people by divine right; for if, as St. Paul declares, all authority proceeds from God, it does so through the medium of the people whom God inspires to found it; and because the only authority that proceeds directly from God is that of the Church.

I then set myself to demonstrate that, if Sanz del Rio and his followers were pantheists, our mystical theologians of the sixteenth and seventeenth centuries were pantheists also; and that, if the former had for predecessors Fichte, Schelling, Hegel, and Krause, St. Theresa, St. John de la Cruz, and the inspired and ecstatic Father Miguel de la Fuente followed, as their model, Tauler and others of the Germans. In saying this, however, it was not my intention to deny the claims of any of these mystical writers as founders of their school in Spain, but only to recognize, in this unbroken transmission of doctrine, the progressive continuity of European civilization.

For the purpose of carrying forward my undertaking, I read and studied with ardor every Spanish book on devotion, asceticism, and mysticism that fell into my hands, growing every day more charmed with the richness of our literature in such works; with the treasures of poetry contained in them; with the boldness and independence of their authors; with the profound and delicate observation, in which they excel the Scottish school, that they display in examining the faculties of the soul; and with their power of entering into themselves, of penetrating to the very centre of the mind, in order there to behold God, and to unite themselves with God, not therefore losing their own personality, or their capacity for an active life, but issuing from the ecstasies and ravishments of love more apt than before for every work that can benefit the human species, as the steel is more finely tempered, polished, and bright after it has burned in the fires of the forge.

Of all this, on its most poetic and easily understood side, I wished to give a specimen to the Spanish public of to-day, who had forgotten it; but, as I was a man of my epoch, a layman, not very exemplary as regards penitential practises, and had the reputation of a freethinker, I did not venture to undertake doing this in my own name, and I created a theological student who should do it in his. I then fancied that I could paint with more vividness the ideas and the feelings of this student by contrasting them with an earthly love; and this was the origin of Pepita Jiménez. Thus, when it was farthest from my thoughts, did I become a novelist. My novel had, therefore, the freshness and the spontaneity of the unpremeditated.

The rationalists supposed that I had rejected the old ideals, as my hero casts off the clerical garb. And the believers, with greater unanimity and truth, compared me with the false prophet who went forth to curse the people of Israel, and without intending it exalted and blessed them. What is certain is that, if it be allowable to draw any conclusion from a story, the inference that may be deduced from mine is, that faith in an all-seeing and personal God, and in the love of this God, who is present in the depths of the soul, even when we refuse to follow the higher vocation to which He would persuade and solicit useven were we carried away by the violence of mundane passions to commit, like Don Luis, almost all the capital sins in a single dayelevates the soul, purifies the other emotions, sustains human dignity, and lends poetry, nobility, and holiness to the commonest state, condition, and manner of life.

Perhaps, independent of its transcendentalism, my novel may serve to interest and amuse your public for a couple of hours, and may obtain some favor with it; for it is a public that reads a great deal, that is indulgent, and that differs from the English publicwhich is eminently exclusive in its tastesby its generous and cosmopolitan spirit.

I have always regarded as a delusion of national vanity the belief that there is, or the hope that there ever will be, anything that, with legitimate and candid independence, may be called American literature. Greece diffused herself through the world in flourishing colonies, and, after the conquests of Alexander, founded powerful states in Egypt, in Syria, and even in Bactriana, among peoples who, unlike the American Indians, possessed a high civilization of their own. But, notwithstanding this dispersion, and this political severance from the mother-country, the literature of Syracuse, of Antioch, and of Alexandria was as much Greek literature as was the literature of Athens. In my opinion, then, and for the same reason, the literature of New York and Boston will continue to be as much English literature as the literature of London and Edinburgh; the literature of Mexico and Buenos Ayres will continue to be as much Spanish literature as the literature of Madrid; the literature of Rio Janeiro will be as much Portuguese literature as the literature of Lisbon. Political union may be severed, but, between peoples of the same tongue and the same race, the ties of spiritual fraternity are indissoluble, so long as their common civilization lasts. There are immortal kings or emperors who reign and rule in America by true divine right, and against whom no Washington or Bolivar shall prevailno Franklin succeed in plucking from them their sceptre. These tyrants are called Miguel de Cervantes, William Shakespeare, and Luiz de Camöens.

All this does not prevent the new nation from bringing to the common fund, and pro indiviso, of the culture of their race, rich elements, fine traits of character, and perhaps even higher qualities. Thus it is that I observe, in this American literature, of English origin and language, a certain largeness of views, a certain cosmopolitanism and affectionate comprehension of what is foreign, broad as the continent itself which the Americans inhabit, and which forms a contrast to the narrow exclusivism of the insular English. It is because of these qualities that I venture to hope now for a favorable reception of my little book; and it is in these qualities that I found my hope that the fruits of Spanish genius in general will, in future, be better known and more highly esteemed here than in Great Britain.

Already, to some extent, Irving, Prescott, Ticknor, Longfellow, Howells, and others have contributed, with judgment and discretion, translating, criticizing and eulogizing our authors, to the realization of this hope.